This article analyses the process of recuperation of social relations during the colonial period in the work of a Mozambican writer João Paulo Borges Coelho. The process is seen as a project of filling an empty space in the collective memory of Mozambican nation that has emerged due to a violent rupture with the past triggered off by the post‑independence politics.

The aim of this article is to analyze and evaluate the urban policies concerning the social exclusion. Analyzed polices have been introduced in the two biggest cities in Brazil: Sao Paulo, the most populated city in South America and Rio de Janeiro, the iconic city of this country.

Caio Cesar Esteves de Souza Legitimação da Violência do Estado Pombalino na Poesia Atribuída a Alvarenga PeixotoThe validation of Violence from the Pombaline State as portrayed in the poetry ascribed to Alvarenga Peixoto

This paper presents a discussion about the way the theme of violence is represented in the poetry attributed to Alvarenga Peixoto, in order to demonstrate its coherency and cohesion in relation to literate and political assumptions of the late 18th century. During the discussion, his famous Ode to Marquis of Pombal will be analyzed and related to other four poems in wich this theme is recurrent.

This article aims to describe the linguistic situation in Brazil through the centuries emphasizing the most important points of history, ethnic groups, spoken languages in every century and the language policies which were applied. The discovery of Brazil and its colonization is a unique cultural and language situation. This article makes a sociolinguistic panorama of Brazil from the period of multilingual territory inhabited by indigenous tribes, who spoke hundreds of native languages, to the period of political monolingual territory, but with multilingualism located in certain parts of Brazil.

This article aims to reflect about the violent reality represented by the Portuguese film director Pedro Costa in the Letters from Fontainhas trilogy. Fontainhas, an old slum in the outskirts of Lisbon, was the place where the Portuguese and people from the former Portuguese colonies lived until its demolition, by the end of the last century. The slum, which was built by the hands of the inhabitants, was the place where they established their relations, surrounded by poverty, but with an impressive community spirit. Due to the demolition they were relocated to new public housing. Pedro Costa reveals, in documental and fictional narratives, the hard reality of the Fontainhas inhabitants as well as the demolition and the bizarre transition to their new home.

The 15th century opened up “new” worlds to Portugal and Spain and saw the start of colonialism, which became global from the 17th century onwards. With Enlightenment, one can find the foundations of Eurocentric modernity that gave rise to the dark side of capitalism and imperialism: Europeans brought millions of slaves from Africa to carry out the construction of America and cultural 66 Luís Mascarenhas Gaivão epistemicide caused unnamable losses on both continents. The orature (oral literature) is a weapon used nowadays by the former colonized peoples of Latin America and Africa for the rescue and strengthening of cultures and traditions.In Angola, the writer Manuel Rui is a model in that ability to retransform the literary text.

In 1974, Ignácio de Loyola Brandão released to the public his novel Zero in Italy, translated by Antonio Tabucchi. When published in 1976 in Brazil, the novel was submitted to censorship. Zero, a kaleidoscopic picture of the city of São Paulo in the sixties of the twentieth century is inspired by the big urban novels, experimental writing techniques and narrative collages, and develops a particular narrative. The novel reflects a social climate of violence. This article’s purpose is to analize Brandão’s literary proceeding. In his short stories, published shortly after Zero as well as in his book of memories of Berlin, he becomes quite sofisticated in his writing strategy. The novel O verde violentou o muro was started in Germany and concluded in Brazil, and speaks about a city of Berlin living still the tens climate of the Cold War.

This article presents in brief materials referring to the phenomenon of the violence against women and femicide as well as the intent of understanding its causes in the area of Latin America. According to World Health Organization’s report from 2012 even one thirdof the women worldwide fall victim to this kind of abuse. However, this index multiplies by 2 in the area encompassed by our study. The issue begins at home and ends with abductions and brutal rapes on the streets and in the suburbs, where the culprit is never brought to justice. The main idea of the research is the introduction of the problem, it’s causes, effects but also intents of it’s elimination made by different governmental and non‑governmental organizations.

This article proposes a reflection on contemporary Brazilian identity under the framework of the multidisciplinary studies of ‘cultural trauma’ (Alexander, 2004), that revises and expands the original concept of psychic trauma to reflect on identity and social changes, and their representations such as cinema and literature. The opening of “City of God” (2002), film by Fernando Meirelles and Kátia Lund, adaptation of Paulo Lins’ homonymous novel (1997), is seen here as a synthetic representation of a Brazilian identity of precariousness and inferiority, an outcome of the traumatic colonial slave past.

Luiz Pacheco was, possibly, one of the most provocative authors that had published during the Salazar Regime. In parallel to the context that Luiz Pacheco does of “Depoimento de uma Angolana” in “O Libertino Passeia por Braga, a Idolátrica o seu Esplendor”, firstly edited in 1970, by his seal, Contraponto”, we will go through the paragraphs that Maria Alice Veiga Pereira, the author of the text in appreciation, dedicated to the ill‑treatments of the slaves workers, to the “conventional lies imposed by an hateful social regime”, to the racism e all of its retinue of irrational attitudes, to the economical nonsense of the cotton plantation, amongst other experiences that this primary‑school teacher has lived for the 30 years that she co‑habited in that regime. Faces of a polyhedral Violence that will hardly be atoned; a stain not only in the history of Angola, but also in the human history.

The objective of this work is to present the main results of our research on the universe of “bandoleirismo” in ancient Portuguese America, mainly in the captaincies of Minas Gerais and Pernambuco in the 18th century. In the end, we will defend the premise that the agglomeration of these bandits in their respective localities was due, among other factors, to the impacts of the famous “Law of Good Reason” (attempt to break with the centralist ideals of the Crown).

This paper aims to identify and analyse references to the work by the Portuguese writer Vergílio Ferreira (1916‑1996) in the Polish press. It is the first approach towards the issue of the reception of his ouvre in Poland.

The author of this paper analyses the “scandal” of the novel Aparição, which was flagrant at the end of the 50s of the 20th century but only ten years later, in 1969, its “irreligiosity” was regarded as inoffensive. The metaphysical dilemma of the novel, which aims to put the man in God’s position, became, with the passage of time, something rather obvious. On the other hand, the post‑1968 generation does not understand and accept the existentialist ethics of the “noble infelicity” for the sake of the humanist principles. Curiously enough, the fervor of the hero’s engagement in preaching the necessity of atheism at the end of the book could be considered nowadays as an act of violence. Nevertheless, Vergílio Ferreira’s novel has not lost its great literary value.

This article aims to explore the importance and significance of the political dimension of the work of Vergílio Ferreira, in particular, his novel Mudança (1991) and his short‑story O Jogo de Deus. The political dimension of the author’s work is a complex theme, not only because of its complex articulation of a political position that rejects teleological ideologies, but also because of the attitude of the main aesthetical discourse of the time, Neo‑Realism, which seemed to reject and ignore Ferreira’s work. However, its importance cannot be overlooked, especially taking into consideration its existentialist vision of liberty and how it can be configured as an answer for the trauma of Salazar’s dictatorship, both on an individual and collective level.